In his new song “All the Glamour Has Gone ” Shantel asks:
” What’s wrong with action,
what’s wrong with fashion ,
what’s wrong with passion? ”
We ask ourselves: What’s wrong with Shantel ? And discover the next metamorphosis of this fascinating artist and Produzentens. In the nineties, he was perhaps the most sought-after German downbeat Act , a master and connoisseur in joining exotic sounds with electronic sound. In the first years of the new millennium, he almost single-handedly invented a new musical genre, which experienced a worldwide reputation and legions of copycats .
His most successful album “Disko Partizani” was represented in many European charts in the top 20, was for weeks at No. 1 on the Turkish charts and went platinum in the whole of Southeast Europe. He wrote film music for Fatih Akin and Sasha Baron Cohen, performed at the Cannes Film Festival and he was one of the first German musicians po perform at the legendary British Glastonbury Festival, in Montreux (under the eyes visibly impressed colleagues Prince & Quincy Jones), during the Milano Fashion Week, at the Cerventino Festival in Mexico, the Tim Festival in Rio de Janeiro (co-headlining with Daft Punk and the Beastie Boys) and other important festivals in the world.
His last albums were conceptually conceived producers albums. Whereas in the past bass and beats constructed with the clear goal to reach the dance floor, Shantel’s new sound is more open, more risky, rough, and multicoloured.
Electronic music is no longer in the foreground, but an organic dirty garage band sound. Shantel writes and sings all of the pieces himself, playing guitar and many other instruments without the use of samples (up to a single song). Song ideas were developed in hotel rooms during his long travels. In addition to the tight rhythm structure, the emphasis is clearly on the melodies and harmonies – the energy level always remains high.
This is not a departure from Shantel as we know him, but a “Logical Progression “. Oriental scales and harmonies from the Middle East, with a nod to the sound Smyrna – the birthplace of the blues rebetiko – flash on. If the child of 1968 takes a look at the late 50s and early 60s , it is a view through a prism. An example of this is his reinterpretation of the Finnish tango Kracher “Letkis – A Touch Of Beauty” – here is also the only sample used hidden. But the Sixties flavor is repeatedly broken and re- considered – otherwise it would be no Shantel production!
The secret top star of the recordings is an analog microphone! More precisely, the legendary tube- reinforced ribbon microphone AEA RCA 44 with its unadulterated space. It builds more pressure on and therefore requires the utmost discipline while playing, even the drums were recorded with this microphone (there are no separate tracks). The guitar sound is produced by an original Vox guitar amplifier from the 60s. The effect: the famous Fulltone Echoplex tape echo and spring reverb. This conservative approach to use only a minimal technique is quite revolutionary and contributes influential to the sound of “Anarchy & Romance “.
Guests this time are Justin Adams (who is currently the right hand and guitarist of Robert Plant), Cherilyn MacNeil and Emma Greenfield of the neo -folk band “Dear Reader” (who contributed the theme song for the film “Oh Boy”), the bass legend Ken Taylor and Strings – the Junge Philharmonie Frankfurt am Main.